About Elly, a thriller perched right on the fault line between modern thinking and Islamic tradition.

Healing the land helped heal Salgado. It also provides an eloquent closure to The Salt of the Earth, as landscapes of human misery give way to ... landscapes.

From the opening moments, the one thing clear about It Follows is that it will not follow in everyone else's footsteps.

Kendrick qualifies as the movie's secret weapon — actually not so secret now that she's charmed audiences in both Into the Woods and Pitch Perfect. She's so appealing here, in fact, that audience sympathies are likely to be less-than-evenly split between the two leads.

The awkwardness, the humiliation and the central unfairness of the position these folks have been put in is what filmmakers Luc and Jean-Pierre Dardenne are exploring in Two Days, One Night — a slice of pressurized middle-class life they've made so real, it feels a bit like a documentary.

Scenes that are about to turn catastrophic for Kolya often begin with flat-out comedy.

It's not a political satire, or even satire of tabloid journalism. It's just another "bromance," with jokes so bad (they are) "freshmanic."

The film's timing, in short, could hardly be more resonant. And DuVernay's most remarkable accomplishment may be that with such passion inspiring material, she has made such a measured, resolute and levelheaded film.

Turner's painting of the scene, The Fighting Temeraire will, in fact, become his masterpiece. As Mr. Turner is Mike Leigh's — a growling, snuffling, earthy work of art, every frame worthy of framing.

Director P.T. Anderson isn't generally a guy you go to if you're looking for answers. Questions are more his game, and that's as true here as it was in his far more serious pictures "The Master" and "There Will Be Blood." He is a terrific stylist, though, and the scattershot pleasures he's peddling in Inherent Vice may well satisfy those who like style more than substance, or maybe who like their style with substances.

As odd as it sounds, director Ruben Ostlund manages to make Tomas's crisis of masculinity — his not having lived up to expectations that even he shares — as funny as it is appalling.

What the women are there for in Listen Up Philip is to be truth-tellers to these childish novelists — especially Philip's eventually assertive girlfriend, who ends up using his books as coasters in a long (and welcome) mid-movie detour from the story of his self-involvement.

Doing a whole movie this way isn't unprecedented, of course. Hitchcock's "Rope" did it without digital trickery more than half a century ago. Still, it's a great cinematic stunt, even when you think you've found the hidden edits. And it makes Birdman as exhilarating a flight of fantasy as you're likely to see anytime soon.

By the end of Gone Girl, the social issues that animate the film's beginning — job loss in an economic downturn, differences in wealth and class, media manipulation — have receded, and things have gotten so plot-driven and pulpy, there's nothing to challenge the director or make him stretch. In the film's final stages he seems to be relying entirely on craft — but, boy, is it effective craft.

It says something that 30 years after the events it depicts, Pride should feel so unexpectedly rousing. People cooperating across ideological lines? Finding common cause with folks they don't 100 percent agree with? What a concept.

What's not fictional in their Trip to Italy is the gorgeous Italian coastline director Michael Winterbottom has them romping through, or the food they barely notice (though it'll have you famished by film's end), or the yacht they commandeer, bellowing all the while ...

The filmmakers have been telling interviewers they have sufficient additional material for a whole other movie. And The Dog is eye-opening enough to make you kind of hope that's true.

Calvary is bleak and corrosively funny in about equal measure, with the rugged grey/green landscape suiting the harshness of the village's attitudes about the Church, and repentance, and the worth of good works.

A streamlined script might have helped. Curran and Winterbottom lose themselves in the soupy business of union shenanigans, an internal investigation and Lou's intervention in a troubled boy's life, but the added complications -- and the talk, talk, talk they require -- take away from the disquieting core of Thompson's story.

It seems almost odd to talk of performances when they're as natural and unforced as they are in Boyhood, but they're fascinating, with the adults nearly as physically altered by time as the kids.

The filmmakers wanted to broaden the formula a little, make it more inclusive, do something a little adventurous. Kinda like Earth to Echo's tween heroes.

This is a special Jersey Boys universe crafted specifically for fans — among whom you can pretty clearly count Clint Eastwood.

The sexual tension in Venus in Fur acquires a few specifically Polanski-esque layers.

Director Dean DeBlois has been saying this installment is the middle movie in a How to Train Your Dragon trilogy. It's clear that he took inspiration from the first Star Wars trilogy — not a bad model for breathing new life, and yes, a bit of fire, into one of Hollywood's more nuanced animated franchises.

Filmmakers Phil Lord and Chris Miller (who are themselves impressive partners at this point) know enough not to mess with a successful formula.

Any slack, though is picked up by Shep Gordon, who seems every inch the "supermensch" of the title — splendid company, a sterling storyteller, and yeah, a real mensch.

We're here to see the film's leading lizard, who is pretty gorgeously realized by an army of digitizers, even if he seems just a bit-player in his own movie for the first hour or so.

This workplace-as-hellscape is not new territory, exactly — the story's based on Dostoevsky, plays like Kafka, and looks like an Orwellian nightmare. But who'd complain, since it lets Jesse Eisenberg offer what amounts to an acting master-class.